Liverpool Sound and Vision Rating * * * *
Cast: Philip Shaun McGuinness, Wesley Wharton, Nick Crosbie.
It does take someone with extreme passion and an undeniable knowledge of certain genres in which the call change the way they are perceived, to make more relevant to modern society, speaks loudest. The latest film which stared Australian actor Russell Crowe, the much talked about Noah, is one example, perhaps poor one, of a story that in The Bible was, even for the atheist, is one that can be a stirring read. Natasia Hodge, musician, actor, singer, director and soon to be company head of B Tales, takes the story of Daniel from the Old Testament, and unlike Noah, delivers a fine piece of work in which, thanks to the excellent cast and the sublime writing of Laura-Kate Barrows and some clever effects and excellent additional music, is itself just as stirring as the Biblical text laid down.
It can be a hard ask of an audience to sit through a play in which he subject matter relates to The Bible, especially in an increasing sceptical and secular society, but when you change the way the story is perceived, by taking the very soul of the story but making it more relatable to the modern theatre goer, then you can at least give food for thought in how other stories can be looked upon. Will it change your mind on the dogmatic and obsessed patriarchal society in which ruled the lands of Babylon, would it even drive you to declare an unknown passion for The Bible, possibly not, Natasia Hodge is not that kind of Director or thinker. What she does so well is just make The Bible, no matter what your thoughts on it as a piece of religious instruction, open more for interpretation, just as Daniel did with the King of Babylon’s dreams.
The use of music, sometimes overlooked in small-scale theatre, was rather well observed. It’s not every day that you have the Rolling Stones classic, arguably their finest moment in recording history, Sympathy For The Devil greeting you as the lights go down, nor do you have some fine instrumental work by Metallica thrown in for good measure. The Black Album hasn’t sounded this good in many a year.
It is with the three members of the cast though that brings Laura-Kate Barrow’s tightly written script to life. Philip Shaun McGuinness, Wesley Wharton and Nick Crosbie capture the narrative perfectly and in Philip Shaun McGuinness, the role of Daniel was never more suited.
Regardless of your thoughts of The Bible, Daniel is a play that opens up much debate on how you can make, what is in effect some really good stories, especially in the Old Testament, relevant to 21st Century theatre goers. It would be a shame if these tales were to ever die out, as they do provide a good springboard for young theatre.
Natasia Hodge deserves full applause for having the determination and vision for making this initial foray a wonderful piece of entertainment.
Ian D. Hall